A movie review of ​HACKSAW RIDGE.

Mel Gibson’s first film as director in 10 years should be greeted with more gusto – he is after all a skilled technician. APOCALYPTO is one of the most exhilarating action flicks. While a work should be judged on its own merits, it is sometimes hard to compartmentalise the filmmaker from the film. Having stated that preamble, let’s have a think about Gibson’s latest. HACKSAW RIDGE arguably forms a thematic trilogy of religion and ultra violence that has become the LETHAL WEAPON star’s signature as helmer. What elevates, beyond the skilled combat choreography, is the focus on a soldier pacifist.

​The Second World War Pacific theatre actually only makes up half of the 131 minute runtime. Two formative scenes are offered as personality changers. They are followed by a FULL METAL JACKET-esque training ordeal. Desmond Doss (Andrew Garfield – in his usual gee-shucks mode) had an epiphany as a child. We see him remorse-filled post-sibling brawl gone out of hand. Praying for forgiveness, it is this moment we think has altered his view of raising his hands in violence. Only later, when he vocalises his outlook out of an act of defence in protecting his mother, Bertha (Rachel Griffiths) from First World War traumatised father, Tom (Hugo Weaving), that explores briefly the capacity for venom in even the most gentle of souls.

Based on a true story, having a conscientious objector involved in one of the few just wars over the last century makes the moral quandary speak louder. The adversaries of the allied forces are so heinous, one would surely understand the sundering of a vow to actively participate. The film does not delve deeper unfortunately. While there is plenty of speechifying, it is of the cheeseball variety, rather than any kind of philosophical dissection.​

​Matters aren’t aided by the meet-cute AMAZING SPIDER-MAN romance between Desmond and nurse Dorothy (Teresa Palmer). She looks on wide and teary-eyed as emotional ballast, which comes across as heavy-handed melodrama. They meet after Desmond puts a tourniquet on the victim of a car accident – needlessly bloody and an exemplar of Gibson’s fascination in sado-masochism – also perhaps understanding the audience, who watches crimes shows such as CSI, are equally bloodthirsty? The tourniquet triggers in Desmond the idea that he can be a battlefield paramedic.

At army training, the lead is required to exemplify turning the other cheek, as both physical and legal bullying would have broken a less stoical human being. Resolve and conviction barely waver, giving Desmond an almost super-human/angelic other-worldiness. And this is compounded by the crucible of collegiate mistreatment set aside by Desmond when in the thick of mayhem. HACKSAW RIDGE delivers a refreshing take on hero status. Even among the TV-movie-of-the-week relationships, one cannot but feel uplifted by the protagonist: A singular focus is usually impressive, but then allying such a trait to humanistic bravery wows.​

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